By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
Fresh off a cycle of canvases depicting the Four Evangelists (layered with butterflies and Bible pages and destined for a deconsecrated church in Rome), the baddest boy of the not-so-Y-anymore-BAs brings his road show back to the intimate warrens of Gagosian's Chelsea warehouse. Hirst's London representative says there'll be no gargantuan ashtrays or hacked-up animals, only paintings.
March 11-June 5
Brooklyn Museum of Art, 200 Eastern Pkwy, 718-638-5000.
Robert Hughes famously titled his obituary of Basquiat "Requiem for a Featherweight." Rene Ricard declaimed from the other extreme: "Jean-Michel was touched by God." Basquiat died impossibly young, leaving only his paintings and a drug-ravaged corpse; the BMA will mount a broad survey of the former. You decide whether he will be as forgotten as scrubbed-off graffiti or truly emerge as the "Radiant Child" of the '80s.
'Greater New York 2005'
March 13-September 26
P.S.1, 22-25 Jackson Ave, Long Island City, Qns, 718-784-2084.
P.S.1 is staging its second open-call exhibition of emerging New York artists. Which painter, sculptor, or conceptualist, with the blessing of MOMA's outer-borough outpost, will be anointed the next "It" artist? One participant in the 2000 version, Mark Lombardi, who drew complex, color-coded webs illuminating corporate and government malevolence, hanged himself shortly after the opening; some speculate that the specter of onrushing success proved unbearable to this middle-aged artist. Be careful what you wish for.
March 19-April 23
Ronald Feldman Fine Arts, 31 Mercer, 212-226-3232.
In 1776, American painting was a pimple on Europe's butt, a legacy that extends to the stolid portraits of the founding fathers on our boring currency today. The wife-and-husband team Barbara McCarren and Jud Fine enlarge and combine details of the world's paper money to make oversize ink-jet prints. Four all-seeing greenback pyramids anchor the seven-foot-long Tattoo: Iraq Coalition; unfolding from either side, like colorful, mirror-image wings, are repeated snippets of currency from Iraq and members of the Coalition of the Willing. As usual, it's all about the Benjamins.
March 19-May 21
Drawing Center, 35 Wooster, 212-219-2166.
Mohamedi's work, derived from the abstract traditions of her native India, is presented concurrently with a show of three abstract artists from the West, including Agnes Martin. The cosmopolitan Mohamedi found inspiration in sources as disparate as the geometries of Islamic architecture and painted crosswalks. Her drawings embody both a contemplative quiet that reflected her interest in Zen Buddhism and a verve rivaling the Constructivists.
March 31-May 7
Cheim & Read, 547 W 25th, 212-242-7727.
Eschewing the literal, figurative elegance of her "Waterfall" series, Steir's new "Moon" paintings have a gritty flair: Heavy bronze and silver pigments settle, coagulate, and separate at the base of these works, exposing underlying colors and conveying gravity not as falling drips but something more like river sediment. "It's just nature doing its thing," says Steir. Large-scale (Blue River is 13 x 26 feet), the works run the gamut from pre-dawn black through rich primaries to morning-mist white.
April 7-May 7
Team Gallery, 527 W 26th, 212-279-9219.
Stencils are art's version of tightrope walkingone mistake and everything's fucked. For his debut exhibition, this 34-year-old L.A. artist starts with computer-scanned enlargements (six feet high) of his collages, which he meticulously cuts out and adheres to varnished black canvases. He has one shot to spray on vibrant colors that bring out images such as Tack and Gentry, which juxtaposes tiara-clad starlets and a sullen, tuxedoed young man against bridles, saddles, and riding crops. As Jake Barnes laments in The Sun Also Rises, "I have a rotten habit of picturing the bedroom scenes of my friends."
April 9-June 25
Art in General, 79 Walker, 212-219-0473.
A Cuban native who lives just outside Havana, Casado works in the netherworld between Cuba's street life, politics, and religions. His paintings are often filled with cascades of numbers, homage to the popular, clandestine lotteries indulged in by all classes of Cubans. (Some are piped in from Florida radio stations.) Now in his mid-thirties, Casado has frequently been controversiala 1998 painting depicts performance artist Angel Delgado taking a dump on Cuba's national newspaper; the actual event cost Delgado six months in jail. But in Casado's world even scatological outrages are bright and shimmering: He paints with serigraphic inks on glasssometimes old public-bus windshields scavenged or bought on the black marketand then presses colored aluminum foil under the semi-transparent surface. This colorful luminosity dovetails nicely with another of Casado's recurring themeshis Abakua religion, a West African faith brought to Cuba during the slave trade.
David Goerk, John Mullen
April 14-May 7, May 12-June 11
Howard Scott, 529 W 20th, 646-486-7004.
Always a home for intimate, compelling painting, this gallery offers a one-two punch. First are Goerk's tiny (7 x 4 x 4 inches is typical) oil-on-wood constructions. Squares grow out of rectangles like euclidean tumors, all painted in velvety maroons, blues, and greens highlighted by opposing colors on right-angled edges. Mullen follows through with rich textures on his five-foot canvases, deftly mixing colorful biomorphics with stark geometries. Both artists convey nature overwhelming the arbitrariness of our constructed world.